Module 3 – Art Elements, Line and Space

This article pertains to a few of the formal elements in art, specifically line and shape. The line is one of the most basic of elements. But, it is more than just a simple stroke of the stylus. The line has many functions in art. It can be used to define a shape, as when used to outline an object or to describe its contour. The line is frequently used in ways that may not be part of the form of the artwork, such as when it is used to depict an implied line of action or direction of vision. Lastly, the line has an expressive quality as well. The expressiveness of an artist’s line can sometimes be seen as a signature of the artist. Next we see a few examples of art that depict the various roles of the line.

Outline

This drawing by Henri Gaudier-Brzeska (1891-1915) is an example of the use of line to outline the two figures here, which are representations of the female form. The outline is of an abstract nature, but it is definitive enough to distinguish the subject matter. 

Two Figures
by Henri Gaudier-Brzeska (1891-1915)
Black wash drawings and watercolors, 8.375” x 5.5”
Boston Museum of Fine Arts

Implied Line

Although, implied line is not a visible line created by an actual brush stroke, it is a line of action or a line of sight contained in the work of art. Take a look at the Madonna of the Rocks and notice the numerous pointing gestures implying a line of vision for the eyes to follow. Also, one can notice the implied line of action the child on the left creates, by suggesting that the child is about to dive into the pool of water in the foreground.

Madonna of the Rocks
by Leonardo da Vinci
oil on canvas, 199cm x 122cm
Eric Lessing Culture and Fine Arts Archives

Expressive Line

The lines in this piece by Steve DiBenedetto are an example of the expressiveness an artist can display in the wielding of their brush. In this piece the author chose to use a lot of paint drops in varied sizes in a row to create the semblance of a line.

1947
by Steve DiBenedetto
oil on canvas, 16” x 20”
Image and data provided by Larry Qualls

The remaining examples are used to portray the elements that pertain to describing shape of the subject matter. The use of positive and negative space, visual overlapping, foreshortening and perspective all play a part in the manner in which an artist chooses to display the form. Without taking these elements into consideration certain works of art would not be taken as serious, great works, because of their lack of these elements. Here are a few examples pertaining to the shape of art.

Perspective

In 1435 during The Renaissance, Leon Battista Alberti (1404-1472), provided the first theory of what we now call linear perspective. This painting attributed to Albrecht Durer, done in 1495, is one of the first examples of the use of one point linear perspective.

Courtyard of the Former Castle in Innsbruck, Austria
attributed to Albrecht Durer
watercolor on paper, 335mm x 267mm
Eric Lessing Culture and Fine Arts Archives

Foreshortening

This example of foreshortening, by John William Waterhouse (1849-1917), shows how the object closest to the viewer is slightly smaller than it should be when strict one point perspective is employed. If foreshortening was not used, the object in the foreground would be much larger and could deteriorate the overall form of the artwork, even to the extent of making it look ‘clown like’ or out of proportion Foreshortening is a technique used in perspective to equalize the proportions between the foreground and background.

St. Eulalia
by John William Waterhouse (1849-1917)
Oil on Canvas, 74.25” x 46.25”
University of California, San Diego

Positive/Negative Space

In this picture of Donald K Sultan’s work of art, one can see how the contrast between foreground and background creates a positive to negative relationship. In this piece, entitled Double Dominos, the positive and negative spaces can be almost interchangeable. One question that could be asked, “is it a portrayal of black objects on a white background or white objects on a black background?” The only indication that the latter of the two statements is more plausible, is it the fact that there is a border around the white dice. This creates a sense of the black surface being the background or negative space.

Double Dominos
by Donald k Sultan, Jan 29 1995
latex, tar and spackle on tile over Masonite, 96” x96”
Image provided by Larry Qualls

Resources

Alberti, Leon Battista. On Painting. [First appeared 1435-36] Translated with Introduction and Notes by John R. Spencer. New Haven: Yale University Press. 1970 [First printed 1956].
Online at http://www.noteaccess.com/Texts/Alberti/